Garethx

Agreed. I think the songs themselves may well have originated from OV's Goldwax time, but the sessions sound like the other early Back Beat recordings on that album. Makes me wonder how many OV Wright recording sessions there were in the 60s/70s. I'm guessing not that many. Peaks of productivity and then relative inactivity, with the releases being spread over a good few years. Den: I've not got that Peppermint Harris album and don't know anything about it. Might do a bit of reading on it tonight.

It's a very good record, but interestingly this blog https://www.ovwright.org/giant.html quotes Roosevelt Jamison as saying this was one of the Goldwax recordings which couldn't be issued after Don Robey called in OV's contract in the wake of the success of "That's How Strong My Love Is", so maybe a Memphis (pre-Back Beat) recording after all. According to Jamison the other side of the proposed follow up was "Treasured Moments" which was also eventually issued as the b-side of a later Back Beat 45.

"You're So Good To Me" and "I Have None" are on the "Nucleus Of Soul" album on Back Beat, which is half newer (i.e. 1968) material produced in Memphis by Willie Mitchell and some older material like earlier Back Beat 45 Poor Boy. Difficult to say if the 1965-66 cuts are recorded in Texas.

Just that one on volume 2 and "I Found A True Love" (one of the Lee J. 45s) on volume 1. "Sittin' Here Crying" sounds like it was dubbed from disk, maybe an acetate.

Interesting. Somehow it seems less appealing to learn it's a band with an amusing or intriguing name rather than an individual with an unfortunate one. Thanks for the Gerald Dickerson information. Dickerson/Garner/Hathaway was the team behind Maurice Jackson's "Lucky Fellow" among others.

Aha. Thanks for clearing that up Bob.

As far as I know only available on a Collectables CD from 1992 called "Deep in the Soul of Texas Volume 2" although there are a few gaps in the Oscar Perry discography around the late '50s, early 60s.

I've always had a sneaking admiration for Marion Sodd's "Permanent Vacation" despite it having the kind of vocal which would generally have me listening while hiding behind the sofa. The production pedigree of Emmett Garner and Donny Hathaway always makes me think it would have been a classic in the hands of a Jerry Butler or Terry Callier. I have yet to hear his other 45 on Mad but have seen it described as 'crossover with big drums'. Does anyone have a clip to share once refosoul is up and running?

Should also mention Carol & Gerri on MGM, maybe one of the greatest blue--eyed double siders.

Has anyone mentioned The Nomads yet? Surely one of the very greatest from a golden age. I tend to separate the Beach records from the rest of the US pop stuff that got played, maybe because they were made for a very specific geographical dance scene (as opposed to national radio), and maybe because they were very heavily influenced by the original Beach scene hits which were practically all 'real' Rhythm 'n' Blues records by the likes of The Showmen, The Clovers, Willie Tee etc. Having said all that the few genuine Beach sounds from the late 60s with black vocals such as The Mighty Marvelows "Talking 'Bout You Baby" or Reggie Saddler Combo on Panther really ratchet the thing up a gear and make we wish more black groups attempted the genre.

Love Billy Stewart. My favourite is "I'm No Romeo".

Here is Bunky signing to Scepter with Flo Greenberg courtesy of Billboard:

Bunky's sons Billy and Stan Sheppard were in the Columbia act Skool Boyz in the 80s. One of them (can't remember which one) was later in By All Means on Island.

Not according to one of the group's sons who posted this on youtube:

300 quid for a mint-ish copy I think sounds about right. The other side is possibly more 'Northern' sounding now. Jimmy Ricks is quite tough on an issue in that format too. Don't know if people would be prepared to pay extra for that though.

Sammy King is usually pretty expensive these days. Last one on popsike was 455 USD and that was over four years ago. Great early New Orleans soul.

Don't think anyone's mentioned that there are quite a few big 70s records by white artists, in fact some of the biggest ever such as The Anderson Brothers on GSF or Benny Troy on Delite. Also add to the mix the likes of James Walsh Gypsy Band, Roger Troy, The Nicky Newarkers, The Fifth Avenue Band, Sons of Robin Stone, George Clinton Band, Pete Warner, Razzy Bailey etc. and it would be eminently possible to do a pretty good spot of entirely blue-eyed 70s anthems. I've long suspected that The Philharmonics on Soulin' were a white (or at least mixed) group. Does anyone know for sure?

The oldies scene could probably survive without deejays as such. Stick a couple of i-pods on stage and employ a silver-tongued compere to read requests and reminiscences and that should suffice. Throw in an hour of bingo and a chicken supper and it's starting to look very commercially viable.

Thanks for thinking of me Simon but I'm really in no position to make such a list. Family commitments and commercial considerations have meant that I've pretty much knocked going out on the head, certainly from a niter perspective. Lists like that also act as fodder to the lazy buggers who'd rather someone else do their legwork. I have seen and heard a few sets in the last couple of years which have been inspirational, and I always make a point of thanking the people involved, which to me is important. Seeing as there really is no money whatsoever in soul scene deejaying these days it's only polite to thank people who have gone that extra mile to entertain you. Out of pocket expenses in terms of travel are usually met, but the cost of buying the actual records is in no way reflected in djing fees and hasn't been for a generation. Maybe something to consider if anyone grumbles about the cost of niter entrance and maybe the widest reason why the thing is perhaps starting to become completely unsustainable. There are still good niters, but if the pre-eminent deejays are scaling down their commitments then it's actually quite a grave situation for the scene as a whole (if such a thing even exists these days). The scene needs them more than they need the scene: the serious undertone to what has been an entertaining topic. If the elder statesmen depart forever who coming up has the breadth and depth of collection or the necessary skills to replace them? That is knowledge and taste which will in all probability never be replaced. Searling bowed out at a time when there were hungrier, younger replacements to the deejay ranks. Could anyone be sure that is the case in 2011? Food for thought perhaps.

There's an inherent problem in breaking cheap records: inevitable overexposure. I'm sure those who first played "Kiss My Love Goodbye" or "Because Of You" or Ruby Andrews on Zodiac or Wade Flemmons on Ramsel and a good few more sometimes wish they hadn't. Everyone wants to be a deejay these days and with such 'ten quid monsters' seemingly everyone was for a while.

edit.

Through a spotify/facebook interface you can share i-tunes libraries with other users. Think you have to pay for this feature these days.

Great taste, contacts, knowledge, doggedness, intelligence and an unshakeable faith in your own ear. Those are all far more important than mere money. We've all seen people with money show up and try to use it to get to the inner sanctum (such as it is these days). It never works for long. You simply cannot instantly amass a great collection from scratch these days even with relatively unlimited funds. Even great records in themselves mean nothing without innate deejaying ability. Not everyone has it. It can develop over time but in many ways the ability to play the right records in the right order in an entertaining and refreshing way is probably something you're born with. It's a different thing from merely being a 'showman' or a comedian with the mike.

^ A tremendous shot of the Delreys Inc. Many thanks!

I'm not convinced that The Delreys Incorporated are white. A brief internet search for the writer, Samuel Crumity yields the following result: https://www.classmates.com/directory/school/Lincoln%20Memorial%20High%20School?org=1261 Now I know that's in no way conclusive (after all there are many examples of white groups recording songs by black songwriters like The Magnificent 7 with Archie Himons) but to me the vocal on Destination Unknown has always sounded 100% black. They shouldn't be confused with other similarly named groups who definitely were, like the Jimmy Johnson, Roger Hawkins group who went on to be the nucleus of the FAME studio band.